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Image as a Sculpture, Sculpture as an Image-

Art history has reduced sculpture to image. Sculpture has become flat and books have become a means of distribution and mass consumption. This paradoxical relationship between sculpture and photography has been turned on its head in my recent project.

The idea of working with images as if they were sculptures suggests different problems. Images (of sculpture) are understood as matter, not as representations of objects. This state brings us the possibility of considering these as something malleable, meaningless, and shapeless. Thus, applying sculptural techniques to images, such as modeling, addition, or subtraction, invests a logic of sculptural production that reshapes this undescriptive matter.

In this project I appropriate a book about sculpture and reduce it to pieces under different categories. Texts were turned into dust and became part of the final artwork as an invisible ingredient of the pulp paper that holds the art piece together; words act as glue to the fragments but remain invisible. Moreover, all the images were cut out and sorted into different categories, sometimes according to time periods, other times under more capricious categories such as color or material. Finally, the book margins were cut into small pieces

simulating little stones.


The backgrounds of the photographs, most of the time plain black studio backgrounds and sometimes the sky, also became small pieces and sorted under typologies. After sourcing all this material, a new process of production became available. First, I made a design with the fragments at my studio. After carefully collecting all the pieces and assigning numbers to each one, the materials were sent to Barcelona to Museo Capellades. There they were reproduced as an exact copy of my apparently random design, creating a grid and placing each piece in a specific site. Later these fragments were covered with pulp to create a surface where cotton, book dust, invisible words, and marble dust melted together creating a unique piece.


The idea was to use the same production process made to create terrazzo but with a different material. A game of processes, production, and materials that makes us wonder about the nature of the images and art objects.

Collage made out off pulp and cut off paper,


"Arco Madrid 2020"

Alarcón Criado Gallery,

Madrid, Spain, 2016

Ira Lombardía Studio
150 Westminster Ave
Syracuse, NY, 13210, USA
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